GT: Do you have a type of pick that you can’t live without?
TR: I do! I exclusively use Dunlop Sharp 1.35mm picks, the dark grey ones. I’ve been using those picks for years now. I love the length of the drop on them, that point really helps my accuracy and I find them super comfortable with zero slippiness. I really find it hard to use regular shaped picks now, you get used to that sharp point, even though it’s only a couple of millimetres longer than a standard pick. I’ve got a heavy right hand so using the 1.35mm gives the pick an extra bit of longevity.
GT: If you had to give up all your pedals but three, what would they be?
TR: I’ve got quite a collection. They’ve all got their own personality and function so it’s hard to whittle it down two just three. My Hermida Distortion would be one, it’s such a versatile pedal and it’s been on pretty much every one of my albums. It’s got the Dumble thing going on, but it has a tonne more gain, and has sweet spots everywhere. Another pedal I’d keep would be my old Mutron Phasor II. To me it’s hands down the best sounding phaser ever made. It’s a bit on the large side, but it’s worth the real estate. I think it must be something to do with the photocells used from that era that gives it that extra sparkle. The last pedal would be my Ibanez DDL10 Delay II. It has its own personality and is such a great sounding delay. It’s been on my board for years.
GT: Do you play another instrument well enough to be in a band.
Bu hikaye Guitar Techniques dergisinin October 2021 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Giriş Yap
Bu hikaye Guitar Techniques dergisinin October 2021 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
THE MOODY BLUES
This month Stuart Ryan delves into the picking style of this British prog legend whose acoustic guitar has powered many a Moody Blues song.
WAYNE KRANTZ
This issue Nick Mellor provides an insight into this brilliant jazz stylist, focusing on his approach to improvising over static chords.
OPEN G TUNING
Open tunings are great fun and can help create exciting new ideas. Simon Barnard shows how to incorporate open G tuning into your playing.
RODRIGO GOUVEIA
Last month we featured Mateus Asato, and mentioned the importance of the neo-soul style in his playing. Here we turn to his fellow Brazilian, the master of neo-soul fusion.
MARK KNOPFLER
Our topic this month is a master craftsman as both guitar player and songwriter. His style is unique and his influence spreads far and wide.
U2
Martin Cooper checks out the chiming pedal delay tones of this stadium-filling band from Dublin, Ireland, and guitarist The Edge.
LUTHER ALLISON
It’s blues with a touch of soul this month, as David Gerrish explores the dynamic, expressive style of an often overlooked Chicago bluesman.
JOHANN KASPAR MERTZ Capriccio
This month Declan Zapala explores the music of Austria at the turn of the Romantic period with a fiery caprice to level up your fingers and unlock your inner virtuoso.
THE CROSSROADS Michael Landau
John Wheatcroft explores the playing of a session ace _ and blazing blues-rock maestro who graces the top-flight m band of singer-songwriting legend, James Taylor.
VIDEO MASTERCLASS Troy Redfern
This month GT welcomes this slide guitar virtuoso. If you've been wanting to take your slide playing to the next level then this is one's for you. With Jon Bishop.
